This research covers collaborations in a studio recording environment and the interrelations between conflict and creativity. The aim was to find what the relationship between creativity and conflict is in a studio recording environment and what different ways there are of managing conflict and the purpose of this was to further the understanding of these concepts and their place, for engineers, producers and musicians to make better use of moments of conflict. A literary review was made to outline and present the key elements of collaborations in studio recording, previous research on creativity and definitions of conflict and creativity. Examining this literary review brought forward a few concepts that then came to be the base on which this study lies. An ethnographic study was conducted with the band Baron’s Court. The band was observed while recording an album and later interviewed to share their experience of the recording session and their thoughts about this topic. There were trends and patterns found in the footage from the observation and in the interviews that allowed for elaborations on how different creative approaches can impact the kind of conflict that might occur and the different ways of managing conflict. The trends and patterns were compared to the findings in the literary review.

This project addresses the problem of monovalent interpretations of habit’s role in a creative means of living within the literature. Analyses tend to opt for an either/or logic, in which the majority of research conducted reflects a detrimental, constraining role for habit as regards creativity while responses to this dominant position still operate under a singularly-positive understanding of habit. Introducing a multivalent conception of habit is a component within the broader purpose of challenging dominant conceptions of political improvement or “progress” (acknowledging how historically- and contemporarily-loaded such a term remains), while leaving open the much-needed potential for change. The research demonstrates the dangerous, immobilizing interaction between individual habit formation and the modern, linear teleological focus on political prediction and destination. Concurrently, it points to the benefits to creativity habit can provide when individual habituation is immersed in a different sense of political engagement. This bipartite argument is made through a Bergsonian method, built up from the intuitive primacy of flow and becoming and their decomposition into apparently stable forms and relations. Inspiration is drawn not only from the works of Bergson, but also Deleuze, Heidegger, and successors. By examining the multiple lines internal to habit, the research prescribes the importance of a balanced approach to the direction of political effort between a sense of improvement which advances to livable destinations and a sense which departs from unlivable locations. This is not a balance of the middle way, but of the constant passage between polar extremes (a both/and logic of habit) and individual negotiation amongst free and constrained political actions. By opening up the complexities of habit, subsequent work can interrogate further social and political elements which enable the persistence of teleological ideology and develop new political mechanisms to promote meaningfully diverse engagement and openness to the radically unpredictable. / Graduate

Creativity is an ever relevant concept in problem-solving. Indeed, one could argue that no problem is really problematic unless it requires creative thinking; such problems can be solved by simply applying known facts and employing suitable algorithms. Yet, that is exactly how many tasks in mathematics textbooks are structured today. The present study aims to find other tasks, which can infuse creativity in the mathematics classroom. Special attention is turned towards a class of tasks known as open-ended tasks because of their creative potential. A literature review spanning 70 sources yields 17 types of open-ended tasks, and these are subsequently exemplified, classified, analyzed, and discussed from a teacher’s perspective. / Kreativitet är ett begrepp som ständigt är relevant i problemlösning. Man skulle till och med kunna hävda att ett problem egentligen inte är problematisk såvida det inte kräver kreativt tänkande; sådana problem kan ju annars enkelt lösas genom att applicera kända fakta och använda lämpliga algoritmer. Ändå är det precis så som många uppgifter är strukturerade i dagens matematikläroböcker. Den här uppsatsen syftar till att hitta andra sorters uppgifter som därmed skulle kunna ingjuta kreativitet i matematikklassrummet. Särskild uppmärksamhet riktas mot en viss klass av uppgifter – öppna uppgifter – på grund av deras kreativa potential. En litteraturgenomgång av 70 källor alstrar 17 typer av öppna uppgifter, och dessa exemplifieras, klassificeras, analyseras, och diskuteras sedan utifrån ett lärarperspektiv.

This master’s thesis is focused on qualitative creative method of mental mapping. The theoretical part deals with creativity and qualitative research too, these terms are linking with mental maps. In practical part is implemented analysis of specific research and on the basic of attained results are suggested possibilities solutions and applications of this method.

This Master’s thesis deals with creativity and motivation of employees in organization. In theoretical part are explained basic terms as creativity, innovation and organisational culture. In practical part is introduced the company and is accomplished questionnaire investigation for acquirement of important entries to creation of suggestions to increase of productivity. These suggestions are presented in the final part of the thesis.

This master´s thesis is focused on developing creavitivty in organization oriented work in team. The theoretical part deals creativity, qualitative research and mental mapping. In practical part is implemented qualitative research based on the results and suggestions for improvement.

With the development of modern GPUs, the computational power they provide have become more accessible and versatile. This has fueled the development of interactive visualization techniques and among them volumetric visualization. The objective of this project is to implement a volumetric path tracer as a reference renderer for volumetric visualization with OpenCL as the target platform. The implementation is created as a processor in an existing visualization framework called Inviwo. The components of the implementation are validated with the help of an analytic single scattering test scenario. The implemented path tracer is then used to render a series of scenes containing both sparse and dense participating media, where the different terms and parameters are studied. The results show comparisons of extinction coefficients, anisotropic scattering using the Henyey-Greenstein phase function, single vs. multiple scattering and a mixed BSDF that is comprised of both a BRDF and an isotropic phase function. One of the conclusions drawn from the results is that multiple scattering not only result in indirect lighting which light up the shadowed regions of the image, but also results in more vivid colors thanks to the sub-surface scattering that naturally occurs.

Thesis advisor: Spencer H. Harrison / Thesis advisor: Michael G. Pratt / Through an inductive, qualitative study of individuals developing new artificial intelligence (AI) technologies, this dissertation builds theory on how creative workers manage the emotions that arise from forecasting the outcomes of implementing their creations. I find that, in a context that illuminates the danger of implementing certain types of creative ideas, creative workers forecast both positive and negative outcomes arising from implementing their work, which elicits ambivalence. My work indicates that how creative workers respond to this ambivalence affects whether they impose constraints on their work as it unfolds. First, some individuals may proceed without constraints because they have resolved their ambivalence by amplifying their positive thoughts and feelings toward their work. Informants who exhibited this pattern created psychological distance (Lewin, 1951; Trope & Liberman, 2003) from the potential negative effects of their work by anchoring on the present moment and/or emphasizing potential positive outcomes. However, the majority of informants exhibited a novel “redistribution” response to ambivalence, whereby they committed to their work (Brickman et al., 1987; Pratt & Rosa, 2003; Pratt & Pradies, 2011) and shifted from a strengthening of negative thoughts and feelings toward a strengthening of positive thoughts and feelings through the use of self-imposed constraints. My work suggests that, although self-imposed constraints do not eliminate negative thoughts and feelings altogether, applying these self-determined boundaries enables individuals to reduce ambivalence and engage (Harter, Schmidt, & Hayes, 2002) more fully in their work. In addition to inducing a process model that encompasses these dynamics, I present the categories and types of self-imposed constraints that I have induced. These self-imposed constraints are not mutually exclusive, and each serves one of three broader purposes: developing a sense that one’s creation will have a positive moral valence, that one will be able to control his or her creation, or that one may trust in the quality of his or her creation. This dissertation extends theory on the role of prospective thought processes in creative work and shows how constraints, though often seen as impediments to creativity, can be used proactively by creative workers to manage the darker emotions and thought processes that have largely been overlooked in prior research. This work also contributes a novel response to ambivalence, redistribution, which entails approaching potentially harmful creative work in a heedful manner. / Thesis (PhD) — Boston College, 2019. / Submitted to: Boston College. Carroll School of Management. / Discipline: Management and Organization.

Sport coaches are perceived as problem solvers who engage in creativity to handle the spontaneity of competitive activity and generate winning results. However, while creativity in athletes has been researched, little has been investigated regarding coaches. Therefore, the purpose of this study was to examine different aspects of creativity – person, process, press, and product – among collegiate team sport coaches in the United States. Specifically, how personality traits, ideational fluency, remote association ability, years of coaching experience, and work climate related to creative product impact and frequency. A modified creativity personality test was found to be positively related to both the impact and frequency of creative products. Further, self-confidence and years of coaching experience were positively related to creative product impact, while inventiveness was positively related to creative product frequency. Analyzing the creative potential factors related to creative productivity may be useful in enhancing creativity for collegiate coaches and improving outcomes.

In this thesis, I have investigated how to work creatively with melodies in the process of composing music. The starting point of the project was to transcribe phrases from different solos and to be assigned with newly composed ones from musicians around me. The melodies were applied to different composing methods. The methods were there to have a way of making music of the melodies and to put them in a context. The purpose of the work was to investigate how the use of these melodies and melody-based methods were affecting my composing. How could I create new musical possibilities in my composing by working like this? How could I in the process use the knowledge to develop harmonic possibilities and concepts on my main instrument? The work resulted in four newly composed pieces and concepts in how to improvise with melodies. I made the conclusions that the combination of variation, patience and a non-valuable working environment was a fruitful way to stay inspirated and creative. / <p>Medverkande musiker:</p><p>Joanné Nugas - sång</p><p>Malte Bergman Byström - bas</p><p>Noa Svensson - trummor</p><p>Björn Eriksson - piano</p><p>Oskar Nilsson - gitarr</p><p>Ebba Åsman - trombon</p><p>Björn-Atle Anfinsen - trumpet</p>